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	<title>Dramaturgy &#8211; Kathryn Ash Dramaturgy</title>
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	<link>https://kathryn-ash.com</link>
	<description>Tell your Story. Really Well.</description>
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		<title>That Gun Theory (Unpack that Quote Series #2)</title>
		<link>https://kathryn-ash.com/that-gun-theory-unpick-that-quote-series-2/</link>
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		<dc:creator><![CDATA[Kathryn Ash]]></dc:creator>
		<pubDate>Wed, 15 Mar 2017 23:06:33 +0000</pubDate>
				<category><![CDATA[Dramaturgy]]></category>
		<category><![CDATA[Playwriting]]></category>
		<category><![CDATA[Theatre]]></category>
		<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Writing]]></category>
		<guid isPermaLink="false">https://kathryn-ash.com/?p=5548</guid>

					<description><![CDATA[&#8220;One must never place a loaded rifle on the stage if it isn&#8217;t going to go off. It&#8217;s wrong to make promises you don&#8217;t mean to keep.&#8221; —Anton Chekhov, 1860-1904 Good Old Chekhov&#8217;s Gun Theory. It mostly works on the principle that everything within a story should be necessary to the telling of it.  Gun on stage?—someone gets shot for sure. This is the second in my blog series of &#8216;unpack that quote&#8217;. Let&#8217;s just get this one thing out of the way first, though, seriously; it needs to be said Anton Chekhov was a hottie. I&#8217;d never really paid attention to any photograph of him before.]]></description>
		
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		<title>Facing The &#8216;Turge.</title>
		<link>https://kathryn-ash.com/facing-the-turge/</link>
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		<dc:creator><![CDATA[Kathryn Ash]]></dc:creator>
		<pubDate>Mon, 13 Mar 2017 07:39:03 +0000</pubDate>
				<category><![CDATA[Dramaturgy]]></category>
		<category><![CDATA[Playwriting]]></category>
		<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Writing]]></category>
		<guid isPermaLink="false">https://kathryn-ash.com/?p=5517</guid>

					<description><![CDATA[So, ok, you&#8217;ve got yourself a dramaturgical appointment—with a reputable dramaturge who has clean ears and a clear mind, hopefully— but just what are you supposed to do?  &#160; Today a friend of mine sent out an email to all her play-writing friends requesting tips and information on how to best handle your dramaturgy sessions. And it strikes me as a very more-ish subject. I&#8217;ve had all sorts of dramaturges work with me on my writing. From the writer&#8217;s perspective, what are the hot tips on being able to navigate a dramaturgical relationship? As my friend put it: &#8216;Getting &#8216;turged&#8217; If you&#8217;re new to playwriting or]]></description>
		
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		<title>Unpicking Stories.</title>
		<link>https://kathryn-ash.com/unpicking-stories/</link>
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		<dc:creator><![CDATA[Kathryn Ash]]></dc:creator>
		<pubDate>Tue, 31 Jan 2017 23:32:46 +0000</pubDate>
				<category><![CDATA[Dramaturgy]]></category>
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		<category><![CDATA[Writing]]></category>
		<guid isPermaLink="false">https://kathryn-ash.com/?p=5169</guid>

					<description><![CDATA[Watching movies should count as study time for writers. Along with reading novels, going to see plays and listening to radio drama. That is if you take the time to deconstruct your experience of them. And, good news,  you don&#8217;t have to be a lit major or a dramaturg to gain insights. All you need is to be questioning. You&#8217;ll need a notebook. And 15 reflective minutes. I recently saw the movie Lion. It&#8217;s a movie about an adopted man&#8217;s search to find his birth mother in India. It&#8217;s not a movie I would&#8217;ve automatically lined up in public to see. Apart from the almost vaseline-smeared]]></description>
		
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		<title>These Three Things.</title>
		<link>https://kathryn-ash.com/these-three-things/</link>
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		<dc:creator><![CDATA[Kathryn Ash]]></dc:creator>
		<pubDate>Fri, 06 Jan 2017 23:13:49 +0000</pubDate>
				<category><![CDATA[Dramaturgy]]></category>
		<category><![CDATA[Uncategorized]]></category>
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		<guid isPermaLink="false">https://kathryn-ash.com/?p=4463</guid>

					<description><![CDATA[I love the number three. Dramatically speaking, it&#8217;s a miracle worker. Three is the smallest number of elements you need to create (or break) a pattern.  And your audience likes patterns, almost as much as they like it when a pattern they learn is broken. Three is a destabilising number, too. Three is a provocation and a conflict all by itself. Three is born to tell stories. Count on it. Let&#8217;s talk horror. Indulge me. First&#8230;. a noise. coming from downstairs. what is it? ignore it. it was just my imagination. (the idea of an intruder is introduced) Second&#8230;.there&#8217;s that noise again. what is that? Better go look&#8230;.careful&#8230;.this is]]></description>
		
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		<title>So, this is Christmas&#8230;.</title>
		<link>https://kathryn-ash.com/so-this-is-christmas/</link>
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		<dc:creator><![CDATA[Kathryn Ash]]></dc:creator>
		<pubDate>Tue, 20 Dec 2016 01:28:19 +0000</pubDate>
				<category><![CDATA[Dramaturgy]]></category>
		<category><![CDATA[Politics]]></category>
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		<guid isPermaLink="false">https://kathryn-ash.com/?p=3908</guid>

					<description><![CDATA[&#160; So, this is Christmas&#8230;. and what have you done?  Never was there penned a more loaded line in a Christmas song. John Lennon and Yoko Ono knew the gravity of the line, having written it in 1971, at the height of a dreadful and intractable war in Vietnam, and after years of political activism to encourage peace. That opening line is an interrogation of our personal morals that stands true and straight today, enough to bring stinging tears to my eyes the very second I hear them. As Christmas songs go,  Baby It&#8217;s Cold Outside, it ain&#8217;t. What have you done? the song asks. It falls just]]></description>
		
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		<title>Love first. Then disaster.</title>
		<link>https://kathryn-ash.com/love-first-then-disaster/</link>
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		<dc:creator><![CDATA[Kathryn Ash]]></dc:creator>
		<pubDate>Sat, 17 Dec 2016 06:11:16 +0000</pubDate>
				<category><![CDATA[Dramaturgy]]></category>
		<category><![CDATA[Playwriting]]></category>
		<category><![CDATA[Theatre]]></category>
		<category><![CDATA[Uncategorized]]></category>
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		<guid isPermaLink="false">https://kathryn-ash.com/?p=3802</guid>

					<description><![CDATA[A good few years ago, an Australian dramaturg I know stated the obvious (dramaturgs are good at that, and, damn it, someone has to do it); love first, then disaster, he said with power and panache as if it were a profound elemental truth of the world in general. I&#8217;m going unpack what the statement means, and then I&#8217;m going to point out the obvious—we don&#8217;t use this piece of advice enough when we are writing. My most recent mistake in not paying enough attention to this advice of &#8220;Love first. Then Disaster&#8221; was in the initial draft of my latest play Here We All Are. Assembled.]]></description>
		
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		<title>True Stories.</title>
		<link>https://kathryn-ash.com/true-stories/</link>
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		<dc:creator><![CDATA[Kathryn Ash]]></dc:creator>
		<pubDate>Wed, 14 Dec 2016 02:35:18 +0000</pubDate>
				<category><![CDATA[Dramaturgy]]></category>
		<category><![CDATA[Family]]></category>
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		<guid isPermaLink="false">https://kathryn-ash.com/?p=3522</guid>

					<description><![CDATA[Memory is a funny thing. It defines our motives. It helps us define our lives. What we can remember is what we can pass on. What we remember is our truth. But here&#8217;s the kicker. Writing true stories, whether they be of your memories or the memories of others as told to you can be a real challenge. Here&#8217;s some stuff I&#8217;ve noticed about it. For a start, writing memories is an emotional minefield. Memories have an implied ownership. Your memories, right?  Your memories may be your own, but keep in mind others who may have experienced the same event or time period with you, also have implied ownership]]></description>
		
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		<title>How&#8217;s Your Form?</title>
		<link>https://kathryn-ash.com/hows-your-form/</link>
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		<dc:creator><![CDATA[Kathryn Ash]]></dc:creator>
		<pubDate>Tue, 13 Dec 2016 07:55:09 +0000</pubDate>
				<category><![CDATA[Dramaturgy]]></category>
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		<guid isPermaLink="false">https://kathryn-ash.com/?p=3383</guid>

					<description><![CDATA[Last thing a creative writer wants to think about is form and structure and dull, logical things like that, huh?  I know.  You just want to  c. r .e. a . t. e. and get it all out onto the page and be marvellous, darling. This is good news. I&#8217;m all for getting your creative gig on. Let that flow happen. Let it gush forth!  But once all the gushing&#8217;s done, it&#8217;s time to put your logic hat on. oh boy. I might have mentioned this, but I&#8217;m going to mention it again because it&#8217;s really important; pay attention to the form of your writing. What]]></description>
		
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		<title>Inclusivity and Excellence</title>
		<link>https://kathryn-ash.com/inclusivity-and-excellence/</link>
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		<dc:creator><![CDATA[Kathryn Ash]]></dc:creator>
		<pubDate>Mon, 12 Dec 2016 06:40:39 +0000</pubDate>
				<category><![CDATA[Dramaturgy]]></category>
		<category><![CDATA[Politics]]></category>
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		<category><![CDATA[Uncategorized]]></category>
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		<guid isPermaLink="false">https://kathryn-ash.com/?p=3251</guid>

					<description><![CDATA[There is a drive toward &#8220;Excellence in the Arts&#8221;, and there probably should be. I do find the phrase slightly bothersome though.  It&#8217;s just that &#8216;excellence&#8217; in creative expression is utterly relative and subjective.   You could go to the best opera with the best opera singers in the best opera house in your best opera frock or suit, expecting &#8216;Excellence with a capital E from Art with a capital A&#8217;, and yet walk away feeling empty and unmoved.  You could go to a community project with all kinds of &#8216;non-excellent&#8217; theatre practice going on, yet be moved to tears and uplifted to heaven. So]]></description>
		
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		<title>There are no rules, only examples</title>
		<link>https://kathryn-ash.com/there-are-no-rules-only-examples/</link>
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		<dc:creator><![CDATA[Kathryn Ash]]></dc:creator>
		<pubDate>Wed, 07 Dec 2016 01:08:48 +0000</pubDate>
				<category><![CDATA[Dramaturgy]]></category>
		<category><![CDATA[Plays]]></category>
		<category><![CDATA[Playwriting]]></category>
		<category><![CDATA[Theatre]]></category>
		<category><![CDATA[Writing]]></category>
		<guid isPermaLink="false">https://kathryn-ash.com/?p=3012</guid>

					<description><![CDATA[Famous Australian playwright, Michael Gow, once said in an extraordinary writer&#8217;s workshop given at JUTE that &#8220;there are no rules, only examples&#8221;.  I cannot recall if he was saying something brilliantly original, or quoting someone else who is awesome. Yeah. That would be because I don&#8217;t read enough examples. I guess what he meant was that if we look at an example of something that works, then it works. No blanket rules apply to everyone, in every creative medium, in every circumstance. No hard and fast rules apply to writing a play or a novel, as much as we like to think there are rules]]></description>
		
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